A Quote by Neill Blomkamp
'District 9', 'Elysium' and 'Chappie' were all born out of some visual concept first. 'Chappie' is the imagery, because I think I'm a visual person first, of this ridiculous robot character. It's much more comedy based and in an unusual setting.
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In 'Chappie,' you see this sort of young robot that's learning through maybe 'deep learning' how to see the world really, look out into the world, and learn step by step. What's so interesting is that with 'Chappie,' you're getting to see how human behavior reacts to artificial intelligence, and I don't think it's always going to be positive.
My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.
It's thought that about 96% of us have visual imagery, and there's a very tiny minority in the population, some of whom are normal, some of whom have brain lesions, who cannot produce visual imagery.
Since I became more confident, I've thought, 'Right, let me get myself on the market'. So I joined Tinder and Chappie, and it was funny because, at first, the sites thought I was an imposter.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.
I know that in some ways I operate from a kind of antiquated interest in imagery, while many contemporary poets are not so interested in imagery. I think part of it is my training, and just my visual sense of things.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
I'm a visual thinker, so I think of everything visually, first. A lot of what an issue will become for me starts with me thinking, "What's a great cover?," or "What's the splash image?," or "What is the title of the issue? How do I see the text?" I think about all of that stuff, and then the story comes out of that imagery.
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
The less you offer, the more readers are forced to bring the world to life with their own visual imaginings. I personally hate an illustration of a character on a jacket of a book. I never want to have someone show me what the character really looks like - or what some artist has decided the character really looks like - because it always looks wrong to me. I realize that I prefer to kind of meet the text halfway and offer a lot of visual collaborations from my own imaginative response to the sentences.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
The way I approach any role, whether it's comedy or drama, I like to look for the truth first. I think comedy for the sake of comedy wears dull pretty quickly. You have to ground the character in reality first and allow the audience to sympathize, emphasize and be more invested.
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